Hope
We look down when tiredness and solace appear
Sadness can appear in fraction of a second
Hope is in the other direction
Look up, Look up.... from there lays the true
Constellation
Eternity on hold
Let the blue face of sadness
Close its eyes in a Zen like
Meditation of Repose
Either/Or
Now or Never
This or That
Love and more Love
Is what will
Break through
BOOKS
In my books I make my home.
From Orion to Zeus the rice paper holds
Types of fonts
The everlasting, eternal word
Through the pages, the ages flow.
Burning brilliance, coals of fire
Upon the soul
A hunger deep and wide
All my books; my comfort be… age upon age
My starship of repose.
David Eric Soderquist
8/21/2022
"What is it, namely, that connects the temporal and eternity, what else but love, which for that very reason is before everything and remains after everything is gone."
Soren Kierkegaard
Through our eyes, stories are told.
Ancient armies have returned from the vanquished lands with laden treasure. Bells ring.
Different wars,different names. Same result.
What dirt roads has this cowboy transversed?
Working,fighting,speaking.
The end of the fair. The lights go out.
Cy Twombly's old art studio
On my way back from Florida were I cared for my sister during her long illness with cancer, I was able to make a short stay over in a beautiful town called Lexington Virginia. I was drained emotionally, spiritually and physically from a fierce battle to assist Erin in her crossover journey to get to heaven.
On my way back to the frigid North Country of Jefferson County New York, I needed a one day respite to restore my weary bones. I knew Lexington to be the place of Sally Mann’s birth and present life. She has always had my admiration as a photographic artist of immense energy and vision. The words skill and talent are thrown about with a great deal of carelessness in the world of art critics these days. They are much overrated. It is both a necessary and sufficient condition to be just two things, a person with vision, and one who can be ubiquitous. Put another way, do you see differently from others and can you produce? Those are the two requirements to being a great artist. Notice, I did not say a great rich artist.
Sally Mann and Cy Twombly are great artists who also were able to not worry about finances. Cy was also a native of Lexington and a personal friend of Sally Mann’s. He passed away in 2011. It was always easier to be a fan of Sally’s work versus Cy’s because her pieces had a sublime, dreamlike quality. Cy’s work invoked that “I did the same type work in kindergarten” statements from many of his viewers. It was not until I was able to see his work firsthand across the street from the Menil Collection at the Cy Twombly Gallery in Houston Texas that I became a true fan. As an abstract colorist who used paints, scribbles and words to craft enormous pieces that were in the size category of Clyfford Still’s; the viewer is left with no choice but to be awestruck. Clearly Cy is one of those artists that a person needs to see their works in real life to have a deep appreciation for.
Being and artist and bibliophile, I tried to find a book store in town before I even secured a place to lay my head. Before anything however I felt compelled to enter into one of the most historic places in town, the local church. It seemed only fitting to give thanks were thanks was due. The sign over the door upon leaving gave me a not so subtle reminder.
Without too much trouble I came upon The Bookery, a quaint little shop that had new and used books which was located on West Nelson Street. The owner Marysue Forrest was busy going through piles of new inventory. After she directed me to the art section I made the observation to her that she and I suffered from that same “Bookitis” malady that made us yearn for the bound pages. I let her know that I was in town because I wanted to see the place that Sally Mann lived. She mentioned to me that she had gone to school with the famous photographer and that she had signed copies of her selected works. No extra cost for the autograph she mentioned. Sally stops in here occasionally and makes sure her authored works also have her signature. I was delighted, how could I resist? I asked Marysue if she would mind signing the book along with Sally for she was the only person that I had ever met who knew the artist personally. She politely declined mentioning something about her signature reducing the long term value of the book. I correctly responded, “Not to me it wouldn’t”. Marysue was not familiar with my deep love for human legacies and the fact that she had a greatness that rivals Sally’s. Notoriety, fame and success does not elevate us above others, it only appears to do so. It was not my last visit to this endearing little book store. It was relatively small and had books “sky scrapered” all around but upon entering you felt at peace, you felt at home.
Upon leaving with my new purchases I was told that Cy Twombly’s former studio was just two doors down. The little shop front was nondescript yet charming store front did not seem like it could have been home to one of the world’s great painters. It was and also is the subject of Sally Mann’s photographic book Remembered Light.
It's interesting to watch the way people behave after a disaster that destroys their property. Many are most concerned with their photographs for they in fact are the perfect metaphor for their life. Printed on paper in two dimensional formats, the photograph is in essence proof and validation that we existed, that our lives mattered.
I've become sad when I see photographs that have been discarded purposely or because of the events of life have hit their owners so quickly.
Photographs tell of life as strongly as they do death. In them is proof of what once was and will always be. A frozen capsule of time is what we hold in our hand. They are reverent and should be sacred to those in front of and behind the lens. When they are not treated as such, I have been known to step in and rescue them from an ignominious end. I then try as best I can to breathe some new life into them. I sometimes will scan these old photographs at a very high resolution. I then like to crop and edit the photo in a way that could perhaps make it even more appealing to the viewer. I am often attracted to ones that are not extremely clear. There's something about being a little bit out of focus and having some elements of graininess that make the photo even more life affirming. In many respects once you begin to study the particular work it can increase your fondness of it to the level of it approaching fine art.
“to take a photograph is to participate in another person’s mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.” ”
My worldview is that each and every person on earth is sacred and has infinite importance. With this belief structure I take a very protective stance with respect to photographs for images capture time, and time is the substance of our lives.
Most of my vernacular photographic subjects have died and gone on. I think that even in some small respect a singular photograph composed properly is a tiny living legacy which testifies of the subject. It's like the lens says visually what cannot be said in the auditory, "I was a witness to your life."
“To photograph people is to violate them as they never see themselves, by having knowledge of them they can never have; it turns people into objects that can be symbolically possessed.””
Taylor Weldon Soderquist
Taylor Weldon Soderquist is a prolific artist. He has produced hundreds of works at the young age of twenty seven. The above work is entitled A Time is Was. The painting is on a 4’ x 5’ professional grade stretched canvas and it appears like a section of a gigantic beanstalk made out of stained glass windows. It is as if a photographer stepped in and took only a one section photograph of this colossal jigsaw puzzle of colored glass. Its large size testifies to its importance.
I have often wondered how the process of writing an art critique essay would feel. Is it difficult to speak about art with the written word? Most importantly is it necessary at all, when art by its very nature has no rules and therefore lies outside the confines of anyone’s judgment? Would this project be enjoyable I pondered? In addition would it be worthwhile, as well as worth reading?
I will say that I have always found that when reading about art, when I was not presented visually with what was being discussed, ended up being a fruitless effort. It seems axiomatic that it is very difficult to describe that which is unseen, especially when it is so unnecessary as in painting, living in the digital age. Writing and photographs are best friends and there are no reasons for these two not to accompany each other.
I chose this original art piece because I happen to own it. I bought this from my son a couple of years ago and it is waiting patiently for my art studio and library to be renovated to have its due place of prominence on the wall. I consider it a masterpiece and not just because this is my son. Any human being that crafted this creation would have my allegiance and admiration forever. A Time it Was pays homage to a litany of different artists, among them being Barnett Newman, Adolph Gottlieb, Hans Hoffman and Ashile Gorky. These great abstract expressionists led the way nearly seventy years ago and their profound influence on Taylor’s work is unmistakable.
Taylor utilizes attractive geometric patterns, shapes, and colors with a deft hand and spirited heart. The observer can find a cacophony of images and subjective feelings that give a nuance of joy and completeness. It is as if this painting existed, breathed and lived before actually being born of horse hair and tubes of distinct thick bodied paints. The background of this painting has the most miraculous shades of green, gray, purple and reds. Included also are some soft blends of brown. The technique he utilizes seems almost reminiscent of the “scrape squeegee paintings” that have been mastered by Gerhard Richter.
Moving in closer one is able to see three dimensional cubes that are mounted on hinges, a mysterious silhouette of a person shaded in gray, along with a pair of eyes peering out ominously at the viewer. These also accompany symbolic hands, forks, arrows, clubs, and a reverent pose of an individual kneeling in prayer. Any time an artist is able to use a flat plane and create a textured colored appearance of three dimensionality there is little mistaking that one is close to observing greatness. When I looked at A Time it Was the first instance, I was convinced I was in front of a tour de force. Every occasion I examine this work I see something different. Sometimes these visions are very pronounced and other times their minuteness is palpable. The work is alive. Those simple four words are the sum and substance of this work of genius.
I’m convinced that this feeling of vivacious can only be evident when one stands before the original painting itself in excellent light. Viewing an original art work may not be a sufficient cause of aliveness but it certainly is a necessary one. There is no greater lover of photography on earth than myself, yet I know the severe limitations when we try to re-create the magical power of a visual piece of art by photographic means. It just cannot be done, or at least done by the means and methods at most of our disposal. I heard recently that our eyes see at about 560 megapixels. That is the type of quality we can witness by being in the same room as the creation. When I sat and studied this painting yesterday in the natural sunlight I was struck at Taylor’s adeptness at picking out different hues and subtly changing them with blended whites. When one looks close, you can also see the individual brushstrokes and perhaps even some places that were missed, yet these give the enchantment and allure of being genuinely human. The same can be seen up close of a Matisse or a Van Gogh. Our digital realm will never be able to replace the power of seeing a work of art in person.
On the back of this painting Taylor left a request that people look at art and that they learn from it. Last of all he suggests that you love the art. My studying and learning from this work in order to write this essay has increased my love of it and my depth of appreciation for it even more.
There are two consummate photographers who take divergent approaches to the idea of social change. They both enjoy the same last name. The first is Ansell Adams. For those unfamiliar with this work a quick Google search will bring up multiple images of landscapes, and nature. His approach to the craft of capturing the spectacular was done with a large format camera that held incredible detail for exposures that were measured in seconds not fractions of seconds. Anyone that views his photographs can see why one of his favorite adjectives was sublime. His photographs are pure artistry, beautifully sublime capturing of light that is unparalleled in its scope.
One of his first in foremost goals was to share the incredible beauty of our national parks with those viewers in America that perhaps never had the opportunity to see these treasures in person. Ansell Adams was a dedicated conservationist who believed that the best way to preserve our beautiful American landscape was to show people exactly how valuable our natural resources truly are. He thought beyond the mining operations and the establishment of hydroelectric power and rather saw the value in just a pure, spiritual, aesthetic sense. He felt that the land, the trees, the mountains all had value in and of themselves and should not be viewed as merely just a provision of economic gain. He was also very consummate editorial writer. He wrote thousands of letters on behalf of causes such as stopping the building of dams which would destroy many thousands of acres of pristine wilderness. In short the methodology of Ansel was to capture brilliant and beautiful light and convince people that our viewing of national treasures should come above the economy of raw resources.
Another photographer by the name of Robert Adams who is still alive today has produced a magnificent canon of work which like Ansel Adams has the same desire to change the public perception of what we mean by advancement. Robert Adams took a totally different approach. He focused much of his photographic attention at the sprawling suburbs of Colorado in the 1970s. What he showed was the raw uncensored effects of man's encroachment upon nature. He was featured on the PBS program Art 21 and is very articulate with respect to his methodology. It was not uncommon for him to take photographs of clear cut forests that showed the incredible destructive effects that man can place upon the earth in the name of progress. His work is displayed and owned by multiple museums across the country. He is considered one of America's foremost photographers and many of his pictures that show this raping of the land are considered to be fine art. He has had many of his books printed by the renowned German publisher Steidl. When one sees Robert Adams photographs they have a very different emotional response than those who view Ansel Adams masterworks. Robert's photographs typically have more grain in them and show less differentiation in hues. He often likes to photograph scenes with the sun directly overhead to show its burning radiance, and instill feelings of stark loneliness. He was just as effective in getting us to think about the true cost that we are paying as a society for the destruction of our natural beauty. These two men had social causes that were very much aligned, yet the methodology that they used was very different. They both optimized artists that have a very sincere sense of value and desire to make a lasting impact upon society. View their work if you can, you will not be disappointed.
How do we define our age?
This age of post modernism.
I recently watched a YouTube lecture that was given with respect to the idea that people do not necessarily buy what you do, they buy why you do it. The speaker made some very compelling points which led me to today's topic.
We live in an age that is fraught with confusion. Politically our country seems separated into two distinct parts. One side versus the other, one set of postulates versus another. Among this maelstrom our society and culture is yearning for meaning. Is there any way that art can be brought into the fold as a catalyst for change? From Soren Kierkegaard to Aristotle many of the great thinkers have made the assertion that a life that is unexamined is not worth living. As important as it is that Apple Corporation be able to define why it makes iPads, it is also important for individuals to assess intelligently why it is that they produce art and ultimately the largest question of all, which is, why do they exist on the earth?
Art historian Suzi Gablik his written about the subject of art and meaning, and human values for many decades. Her work is invaluable to those who seek the larger questions of life and the role in which art finds itself. Her seminal work, which is called Has Modernism Failed? ,was written in 1984. At only 128 pages in length it struck me as a book that packs an immense punch for its ability to get an individual to think and reason about the role in which art finds itself in our current culture. It opens more questions than it resolves but what it does is to get the reader to begin to ponder some very important points with respect to traditional visual arts versus the avant-garde. The existential nihilism and the commoditization of art in our society have made impotent those whose voices truly need to be heard. I believe what Gablik essentially wants to impart to her audience is that they need to be able to define what it is that their work means and to think deeply about how it can affect society in a affirmative way. To say that art is just for art's sake and to postulate that what is most important is the freedom to produce our work only to satisfy ourselves is to negate our humanity. The fact that we live on this earth with others in a community that should espouse works of love gives us a much greater responsibility than what modernism has placed upon us. These questions will not be left in an abeyance as a curiosity. As an artistic community worldwide each individual artist needs to establish a firm foundation for their thoughts, their beliefs and their purpose. Next week I will discuss two artists in particular and the ways that their work has helped promote social examination as well as change.
My interest and joy in having my own art website is growing day by day, week by week. You read a lot of different artist’s curriculum vitae's and they always include shows that they have done in the past. There are many of us with a deep creative spirit that happen also to be in the winter of our lives, or at least the late fall, that no longer desire to market their vision in a traditional manner that detracts from their quality of life. Getting your name out there, networking, making contacts, marketing to galleries, is a great deal of hard work. Yesterday I decided to put on my own solo photography show and just added an additional page to my website. I thought that I would let it run for two months, and then change the material so that every year I have six different solo shows. What fun! In addition, I get to be the curator. Whether a person likes the show or not to me is irrelevant. What is relevant is that it exists; and it is work that I felt has merit and says something about me as a creative individual. Why bring all these middle people into the equation when in fact all we want to do is have a platform to present our vision? There won't be any wine, there won't be any crackers, there won't be any grand opening. As soon as you hit the button save and publish your solo show is ready to go. If you happen to be in New Zealand and someone tells you about my site or you stumble upon it you might be able to look at "Dry Bones and Steel" a solo show by David Soderquist.
The subject of decomposition and decay has been one that I've always been interested in. The laws of thermodynamics have always postulated that all things that have order have a desire to seek an even more stable plane, a less complex order of existence. This causes death both in humans and in the products that we produce. Bones and teeth, rust, metal, antlers, and the harsh rays of the sun's iridescence brings about a sublime beauty that can be readily captured with the camera. The spirit is transcendent, what is left behind is left behind and this has been an immensely fascinating subject to photographers for decades. I hope you enjoy my first solo show. If not, that's OK also. Thank you for your viewing.
The artist Marcel Duchamp lived from 1887 to 1968. He is considered one of the foremost contemporary artists of our time. He had a vision that was significantly different from all those who came before him. A true artistic prophet he was a diverse anti-traditionalist in many respects. He was an original founder of the Dada art movement that chose to produce art that in many respects was irreverent, yet was a direct result of the insanity of the world at the time. This art movement took place simultaneously to the great World War One. Marcel and his contemporaries were able to look at the world and see that despite the Renaissance that man could be responsible for untold horrors. These visionaries had a response to this infamy and they chose to begin to think about the world of Art and Design in a different way. In addition to being an accomplished visual artist Marcel Duchamp was the father of the ready-made, a piece of art that once found can be considered as a standalone piece of art because of the selection of the viewer. It was truly the first concept that original art could be collaboration between the original manufacturer and the eye of the viewer. One of his most famous pieces was that of a plumbing fixture which happened to be a urinal. He laid the urinal on its side and signed it "R. Mutt". When the society of independent artists refused to enter it in an exhibition he vehemently defended it on behalf of Mr. Mutt.
Last week I went to the local transfer station which recycles plastics, papers, and metals. There I saw what in my mind was a readymade piece of art. It happened to be an old discarded aluminum pressed engine block probably from some all-terrain vehicle or perhaps a motorcycle. My father owned a motorcycle dealership throughout his career and it provided the bread and butter for our family. Like Marcel Duchamp I am able to look at structures in such a way that I study the design, structure, line and form and decide instantaneously whether it could stand on its own as a readymade piece of art. This particular metal sculpture had good bones and I felt that it was worth asking if I could retrieve it. I have decided to put a beautiful gloss of white paint over it. This monochromatic element along with a base that will be painted a lime green will have an amazing contrast and should show quite well. The poor tired old engine block thought it was heading towards the furnace yet somehow miraculously it was pulled back and spray-painted with the rich color of white almost as if it was the driven snow. I guess this could be considered as a way in which the mechanical structure made it to heaven. No more heat, no more grinding, only the job of sitting there; statuesque, sublime muscle, with a fierce brilliance. The world is a gigantic museum and all we have to do is stand back, look, look again, and think, think. Visual aesthetics can become a powerful panacea, a positive addiction, and a manner in which to make sense of our increasingly complex world. Beauty has been and will always be in the eye of the beholder.
Last week I needed to bring my son to the airport in Syracuse at a very early time. When we were done saying our goodbyes I looked at the clock and it was still only 5:30 AM. I had an appointment later that morning in the city. I decided that at this time there’s not a lot going on and I had at least four hours to click off with some type of useful enterprise. As usual I had my Canon 60 D with me. I decided to head into downtown Syracuse, park the car and start off on a photographic journey. What an experience it is to be a part of the sublime nature of early morning light.
I started off in an area called Armory Square; I began to walk near the iconic Art Deco building of National Grid which used to be Niagara Mohawk. The final picture in my art show of this blog is of the figure that I call King Electric. It is a magnificent sculpture carved with stainless steel right into the side of the building. I was able to wander the whole area and take photographs the way that I desired. What I discovered was that many photographers; me included have a little bit of reticence in photographing in and amongst the busyness of everyday life. In some ways we don't necessarily want to draw attention to ourselves. That was miraculously gone on my walk through Armory Square. I came away with over 100 photographs many of which I believe have some merit. Not only does a person get the solitude and peace in the early morning but they get a beautiful wonderful light that is not available at any other time. I've always been enamored with the light that comes at the end of the day but based on my constitution and my love of sleep I've never been able to be a truly early riser. I believe now after my walk through downtown Syracuse that my habits will change.
One needs uninterrupted time in order to create. One of my favorite places is 27.5 acres of land that I own that is only 40 minutes from home. This paradise might as well be on the other side of the world for the amount of privacy and peace that it allows me. Yesterday I just got back from spending two nights in a small little log cabin that I call home. I have three other structures that are nearby that contain my easels and art materials so that I can hone my craft. There's no electricity or running water yet that's what makes it endearing. After two days my total production was one large 4 x 5' painting, complete, 368 photographs taken, one smaller one by 2 1/2 foot painting on a wooden board, complete. One poem written and many entries into a journal were made. During this time I took two kayak trips where I came across several mallards and geese. I had two small fires at night to ward off the mosquitoes, and my little get away adventure was considered a success.
The result of this trip was therapeutic, for help to relieve the many pains that I have during the day. I come back exhausted yet refreshed. I have never gone into the woods where I have not come back a wiser man.
My wisdom this time was that every day needs to be used to create, if you are to be called a creator. Our time is brief, no matter what the pain, work through it. Create a body of work; it will be a huge part of your legacy.
"ART WORKS"
David Eric :-)
a little friend
My prayer, meditation area that is shaped like a cathedral. It is so inspiring and peaceful.
Photography and Painting.
We talk today of artists that specialize in different mediums. It doesn't appear to be that common, that various practitioners of the visual arts adopt a multi disciplinary approach. I have found that two of the most integrative mediums are that of photography and painting. What can be accomplished with both of these methodologies is enormous in both the evolution of art in and the multiplicity of different art pieces.
Photography is an expert at capturing a moment in time. What few realize though, especially those who are painters, is that as they are producing their particular piece of work, all along that journey are moments where the cessation of effort could yield a distinct piece of Art. The artist can look back at the different frames that led up to the decision to stop and call a piece finished. These individual frames can be useful sources of inspiration for works that could have gone in a different direction. Furthermore they stand as a testament to the chronological advancement of paint manipulation to its final end. Many purchasers of art would love to have a collection of these chronological advancements of time to the culmination of a masterpiece. What cannot be discounted is the possibility that the real masterpiece laid many frames before the discontinuance of the brush work. If this uneventful or unfortunate happening occurred at least a person would have a high-quality image of which to preserve their hidden masterpiece. These photographs can be done in raw format making sure that no nuances are lost to the desire to save data.
I had to acquire a taste for photo collages with clearly defined borders. I always thought that that the mattes with 12 different cut out shapes to place family photos was practical in purpose, yet the combination did not do any particular photo justice. I am still a little reticent to choose pre cut templates as a first choice in presentation, yet it did lead me to an area of photographic expression that deserves a little more attention. The technique and theory behind disparate image collage is self developed and one that is growing.
I always have said that best art technique is like the best camera. It is the one that you have with you most of the time. Notice I am not saying best camera equals best photograph, it merely is stating that best equals availability. Disparate Image Collage is like that, there are numerous tools ( programs and apps) that allow a person to create boxes within a box that can be be done quickly and with a certain aesthetic appeal.
What I am most intrigued by is the relationship of unlike images and how the mind kicks into gear and works hard at making sense out of images that have no connection. I believe deeply in the irreverent and abstract tradition that is in art yet I feel that like a Rorschach test the human mind desires to make sense out of ambiguity. The spiders legs have an uncanny resemblance to the stems off shooting from the flower. As for the American flag and the Tarpon, what could be more patriotic than fishing! A crab has armor like a tank and tanks have engines like the top of a 1926 Henderson Motorcycle. They all relate is some way. The teeth of a predator fish look in many respects like the jagged precipices of a Clyfford Still painting. In this same collage, black and blue creates it own unmistakable symmetry.
Things, images, constructs begin to take on traits of those visual entities that share a geographic proximity. It is easy to create this art and based on random statistical analysis the possibility of another artist creating a combination close to yours is slim to none. It is like being a artist, a curator, and art critic all in one, especially when you are critiquing your own anonymous work. Disparate Image collage, you heard it here first! Have a wonderful week folks, see you next Thursday.
Art therapy is a topic that seems to be quite popular today. It is an area that I hold a great deal of interest in, yet from a formal text book understanding I know little about. There is scarce doubt that from personal experience the act of creating art is an activity that is filled with healing and self renewal.
I have suffered from cervical and lumbar osteoarthritis for a great deal of time and the symptoms are most severe mornings and evenings. This chronic condition demands a resolute desire to fight back with a multidisciplinary approach. Art is one of the tools in the shed that can and should be used on a daily basis. These moments of discomfort are excellent times to enter into the creative process. Pain is in constant demand for ones attention and the act of focusing on any piece of creativity begins to lessen that grip.
It is not even that important that a person attempt to manufacture a masterpiece, rather that they continue along the most important aspect of their lives; to create. The piece I put together this morning is from a method I call disparate image collage. Next week I intend to speak of this self created method and my art theory that surrounds it. Suffice it for today that it is the end result of a hot cup of coffee and my desire to think outside of pain. It works, if only temporarily, and you as an artist add to your body of work. The precious little girl is Victoria, a huge joy in my life posing for one of my favorite portraits of her.
This particular piece of work I produced several years back to be part of a local art show. The element that provides interest is the juxtaposing of these three visual elements. Collages that incorporate disparate elements, compel the viewer to compose and analyse visual images in an effort to develop meaning. Subjective thought is king, for it weaves a tapestry of relevance with images that are mandated to be neighbors.
Some artists refuse to speak about what the meaning of their own work is, feeling that in some manner it will take away from the viewers experience. In many respects I sense that this is a fallacy. Based on this reasoning we could conclude that that we are better able to think, if we do not darken the door of a university or a library. Good quality thinking always comes about through the free expression of words and ideas. When we listen to the artists meaning of a particular piece of work we invite the creator to stimulate our cognition. We then decide what to discard and what to embrace and then formulate our own unique critique. Layer upon layer, with patient thought and reasoned articulation we begin to create life in a work of art that did not exist previously. All that is required is a trained eye, a desire for meaning, and a way in which to convey our thoughts. In short, what we need is a desire to give of ourselves to the artist much more than a cursory glace. This is a tall order in our fast paced digital world were freedom of speech is sought after yet rarely used in the aesthetic world. Even less used is the sacred right to express freedom of thought.
This piece, Mother Mary and the two bomber jets, obviously has some meaning to me, the artist, yet rather than be too specific I will make some generalizations that could inspire thoughts regarding meaning. The fighter bombers are flying in downward position yet Mother Mary is elevating upward. Bomber jets are black and white, more black than white. Mary is colorful showing life power over death, hope over despair. The downward images are contained within the boarder frame, Mary on the other hand has broken the bonds of the frame in her ascension. All three are flying in air yet in distinctly different directions. Has Mary caused the direction of the Jets or are they flying independently of her power? The Jets are images that are flat, dark and scanned images. Despite being scanned, Mary displays an image that utilizes colored thread to show her almost three dimensional aspects. What is the relationship of the sacred to the secular?
It does not have to be good art to make us think, yet art that makes us think has value. Is it better to be good or of value?
This website has been a dream of mine for some time. What I really desired was a way in which I could present the visual galleries of my artistic life. For me creativity and producing artistic works is as much substance to my mind and body as is food. My works are mine, and I have no strong conviction that they have to convey meaning. They perhaps may, yet I leave that to my audience and their subjective analysis. What is real is the fact that they exist and if this is so then they should have a means of presenting themselves before the world. This personal site is a means to that end.
I intend to be consistent with my approach to weblog entries and provide weekly content that has something of value to provide. In addition it is my strong conviction that the deep intellectual writing about art when the reader has no visual data is of debatable value. My posts will come with photos, quotes, original content and quality links that will create an aesthetic, emotional, and cognitive experience.
A worthy photo to start a discussion about my Art.
Thank You for viewing and reading.......Till next week.